Women Writers and the Medieval

This chapter explores the ways in which medievalism gave intellectual and politically astute women the imaginative means to discuss contemporary social issues and problems without facing the censure that more open social comment might induce. Using medieval linguistic translations, themes, motifs, and settings for diverse artistic, religious, and socio-political purposes, many women writers expressed subversive and challenging opinions: while others, like Charlotte Mary Yonge, offered tales of gentlemanly chivalry and iconic femininity that upheld conservative ideas about society and gender. Women writers’ paradoxical uses of medievalism were seen most clearly in the literature of the Crimean War, and embodied in the role of the reigning monarch, who was both passive chivalric icon and modern ruler. From Anglo-Saxon scholarship to courtly fifteenth-century images, invocations of the Middle Ages provided women with a rich source of allegory and comparison. Many writers perceived the Middle Ages as a time of greater social freedom than their own nineteenth-century experience: Elizabeth Barrett Browning and Augusta Webster explored imaginatively the position of women in Victorian society through medieval settings. Many writers used medieval figures to illustrate contemporary issues: Joan of Arc became an emblem of social equality and an icon for the suffragists, and the legendary Guinevere was used to highlight the confines and injustices of contemporary marriage legislation. By focusing on the work of women writers, this chapter highlights their often overlooked contribution to the development of the medievalist discourse in the nineteenth century.

Robert Browning, Augusta Webster and the Role of Morality

It has sometimes been asserted that a refusal of straightforward communication is definitive of literature as such, or at least definitive of poetry. Such a definition is however not neutral; it reflects instead a preference for certain poets and poetic styles over others. Robert Browning’s dramatic monologues have occasionally been presented as his greatest poetic achievement, highlighting the ironic distancing supposedly central to poetics. However, a look at Augusta Webster’s contemporaneous dramatic monologues reveals that Browning’s irony does not define the genre: Webster uses the form not to create distance between the speaker and the reader but to highlight the intellectual problem she is addressing. Looking at how both poets addressed the role of morality in human life, the chapter contends Webster’s poetry demonstrates that many poetic traditions have emphasized content just as much as form.

Retrieving Fin-de-Siècle Women Poets: The Transformative Myths, Fragments and Voices of Webster, Blind and Levy

The critical recuperation of late nineteenth-century women poets is due significantly to the renewed interest in and study of the poetical works of Augusta Webster, Mathilde Blind and Amy Levy (1860-90) by postmodern readers. A major reason for this ‘salvage’ may be that they represent and embody the profound and extraordinary changes that characterize the British Fin de Siècle, in which the transition from the Victorians to the Moderns implied the transformation or reconfiguration of certain myths or (hi)stories and the critical re-use or ‘recycling’ of major literary forms. This essay seeks to demonstrate that while Webster's poetry is firmly grounded in social activism and the exploration and dramatization of the nature of female experience, Blind's epic and dramatic verse creates new myths of human destiny, reclaiming the Poet's role as the singer of the age's scientific deeds, while Levy's lyrics signal the New Woman poet's role as victim of the pressures of emancipation. Through these hybrid and fragmentary forms, Webster, Blind and Levy literally give voice to unspeakable feelings and situations, in which the anomalous and the marginal are made central.

Julia Augusta Webster

Born in 1837, Webster was a prolific writer in every genre, a self-educated classical scholar, a professional poetry reviewer, an activist, and an educator. She began her literary career as a young girl and had published two volumes of poetry, two well-received translations of Aeschylus and Euripides, and a three-volume novel by the time she became a very active member of the London Suffrage Society in the 1860s. During the 1870s Webster continued to support suffrage for women and the women’s movement in general, as well as liberalism and individualism, in a series of essays that she wrote for the Examiner and later published as A Housewife’s Opinions. Beginning in 1879, she served two terms on the London School Board, with the second term concurrent with her position as one of the main poetry reviewers for the Athenaeum. She consistently published poetry and drama in these years, as well as a children’s novella. Webster was married and had one daughter. In the 1880s she hosted literary salons and was one of the most respected literary, political, and social figures in London until she died of cancer in 1894. Webster disappeared from view immediately after her death, but critics are now seriously exploring the rich diversity of her work. The recent increased interest in Julia Augusta Webster bodes well for a more complete understanding of the significance of Webster’s work as a writer and professional critic, as well as her effectiveness as an activist and political figure.